“It implies everything amiable:” For The Whim’s ”Sense and Sensibility” is a Warm and Witty Delight

by Don Toal Jr.

Comedy can bloom from many sources.

It can be unearthed in our expectations being subverted, from the opposite of what we thought might happen.  It can be rooted in the absurd, the bizarre, the delightful nonsense that shakes up our daily routine.  And it can spring forth from the simple act of two humans, with all the flaws and foibles that make them so, interacting and playing off each other to great effect.

All three of these gardens of joy are in full bloom in For The Whim Productions’ “Sense and Sensibility,” a theatrical breath of fresh spring air that will make you laugh as much as pull on your own romantic sensibilities. 

Nestled in the Hopeloft community space, in the heart of downtown Bridgeton, is a truly unique venue that For The Whim calls home.  This small and intimate setting ensures that not a single nuance of a performance will go unnoticed.  Director Katie Elizabeth Hughes leans into that strength, ensuring that the subtlest of tender connections between characters are given just as much weight as the moments of boisterous, playful stagecraft which are a-plenty here.  The performances that spin out of that approach are as authentic as they are hilarious.

From the first views of the prim and proper drawing room set, designed by Hughes, Joe Dugan, and Tom Kiessling, and built with care and precision by Kiessling and Wayne Riggins, the audience is transported effortlessly into 1792’s England.  Scenic painter Rachel Sneed’s soft greens, whites and golds blend with lighting designer Tim Pianka’s warm natural light and sound designer Heidi Dugan’s light orchestral melodies to create a perfectly pastoral picture.  But of course, appearances can be deceiving, and the set holds plenty of moving parts and surprises (that I don’t dare spoil here) to add to the fun, orchestrated expertly by Production Manager Joe Dugan, Stage Manager Rachael Smith, and assistant Lazuli Ritteler, with further assistance from run crew Anicia Colón as well as Smith and Ritteler themselves.  

Truly, production efforts are a team sport for For The Whim, with the multiple hats worn by multiple members of the company never once diluting the high quality of their work in the slightest.  The rest of the production design shows a strong attention to detail which compliments Hughes’ vision.  Wig and makeup design by John Rattacasa, an indispensable staple of the South Jersey theatre scene, never fails to impress with intricate period stylings and well coiffed curls.  Lazuli Ritteler’s costume design is defined by a strong eye for color, with bold palettes for the more socially ambitious (or ruthless) characters, and softer pastels for the Dashwood sisters, highlighting their diminished status in the eyes of their “betters.”  The Greek chorus of gossipers (played with eagerness and precision by Ofelia Chavez Ramirez, Carey Walden Pangia, Chelsey Shindler, Paul “Cheever” Ranck, and Robert Cook), are clad nearly all in the same crisp whites of the set’s trim, allowing them to blend into the background as needed as they assist with the many fun moments of object work present throughout.  Those objects sourced and crafted by Properties Designer Melissa Kane, ranging from ornate furniture to page-leaved tree branches to one very tiny cottage, all add to the sense of whimsy and romanticism the production team strives for.  

Additional collaborators help seamlessly transition this aesthetic into physical form in the work of the performers.  Musical Director Arielle Egan and Dance/Movement Choreographer Jennifer Gordon give both country drawing room and London ballroom melodic sweetness and prim and proper dance vibes, with the company more than up to the challenge.  And Intimacy Coordinator Terri McIntyre and Fight/Intimacy Coordinator Sean McGarry ensure that all of the more emotionally volatile moments–both the highs and lows–of the show are staged with grace, care and safety.

For those not versed in the works of Jane Austen, Sense and Sensibility–as interpreted here by playwright Kate Hamill–follows the fortunes (and misfortunes) of the Dashwood sisters after their father’s sudden death leaves them financially destitute and socially vulnerable.  The relationship between the flighty, passionate Marianne and her level-headed but emotionally restrained older sister Elinor forms the backbone of the show, and both Arielle Egan as Elinor and Brinah Iglesias as Marianne craft a perfect sisterly dynamic that is all at once nuanced, familiar, and authentic.  The two have great fun playing off of each other, with a sense of joy and deep emotional connection running through all their scenes together.  Iglesias is a freight train of effervescent enthusiasm, radiating emotions in a way that is as infectious as it is nearly exhausting to her ever-patient sister.  Meanwhile, Elinor, while reserved and the picture of “constant composure,” kills one comedic take after take with her eyes alone, with thousand-yard-stares and expressions of “is this actually happening or am I going mad?” giving a crystal clear view into her internal turmoil.  This is paired with a laser-precision command of her dialogue, giving the period text the maximum amount of layered subtext.  The moment near the finale of the show, where Elinor finally becomes unspooled at the return of her dear Edward Farras is a giddy, gleeful release.  

Speaking of Edward, his bookish but well-meaning charm as portrayed by Ryan M. Dailey (who also briefly doubles as Edward’s cottage-obsessed brother Robert) is a perfect match for Elinor, and their adorkable chemistry throughout the show is a delight to watch unfold.  They are as keyed in to each other as they are to their own insecurities, and the result is pure romantic poetry.  Dailey also gives as good as he gets when given the opportunity to engage in comedic shenanigans, a prospect of which noone is left out of in this cast.  David Fusco delivers a grounded and reserved performance as Colonel Brandon, a man with great integrity but whose soft-spoken nature puts him at odds with some of the more socially adept characters.  Fusco’s monologue where we finally learn the Colonel’s tragic history–and the lengths he will go for those he cares for–was a beautifully delivered piece, full of emotional weight and raw heart, and served as excellent setup for his part to play later in the story.  In stark contrast, Brian Danner’s John Willoughby is suitably frivolous and cavalier, every bit the superficial cad, despite Marianne being dazzled by his charms.  Danner makes it a point to sprinkle in enough ‘mean girl’ moments to make the character’s core nature apparent from the start, and his final comeuppance is truly satisfying for the audience (and Elinor) as a result.  

Keeping an eye on the Dashwood family as best she can, Melissa Kiessling gives a warm and earthy performance as the widowed Mrs. Dashwood, navigating the eccentricities and whims of her daughters with grace and wit.  Lily Jarve is charmingly precocious as the youngest Dashwood sister, Margaret, and her spirited reactions and lovely vocals add a nice layer to the family dynamic.  Jared Camacho has great fun as the vain and easily led John Dashwood, with the character’s tactless nature a comedic strength at all times.  Camacho makes a great duo act with Heidi Dugan as his wife Fanny Dashwood, whose appetite for social climbing and puppeteering those around her (figuratively, and literally, in one specific case that I won’t spoil here!) make her a cunning and calculating antagonist.  Dugan delivers her scathing dialogue with crisp diction and icy enthusiasm that matches her scene partners at every turn.  

The Dashwoods’ country cottage exile, as you might imagine, is anything but boring.  This is catapulted into the stratosphere by the Middleton-Jennings, the Georgian-era equivalent of wacky sitcom neighbors.  Played with truly Muppet-y glee and vivacious eccentricity by Jim Ludovici as Sir John Middleton and Richard Mooney (in drag) as Mrs. Jennings, the two make a nuclear-grade entrance with their “dogs” in tow, a moment that is a highlight of the first act for this reviewer.  Each scene either of the two appears in is a perfectly-timed booster shot of energy for the audience and their costars.   And the Lady Middleton, as played by Ofelia Chavez Ramirez, makes the absolute most out of her economy of dialogue, ensuring that each curt reply or comment gets maximum comedic returns.

Rounding out the cast are some notable supporting roles, each with their own impact on the action.  Carey Walden Pangia and Chelsey Shindler steal the show on several occasions as the Steele sisters.  Pangia’s Lucy relishes flaunting her romantic designs on Edward in Elinor’s face, and those “twist the knife deeper” moments are as hilarious as they are heartwrenching (particularly when paired with Shindler’s intentionally off-key parlor singing).  She truly has a ball being a heel, in the 1700s’ sense.  And Shindler’s vapid, easily excitable Anne makes a perfect comedic cherry on top of the dysfunctional drama sundae the Steeles bring to the party.  Finally, Paul “Cheever” Ranck as Thomas and Robert Cook as the Doctor offer some welcome gravitas to their scenes, serving as active observers with their own story to tell within the Dashwood’s trials and tribulations.

For The Whim Productions has created a true theatrical delight with Sense and Sensibility.  This is not only due to the efforts of Hughes and the cast/crew/production team, but the tireless behind-the-scenes work of their promotional and front-of-house team–including Box Office Coordinator Beverly Beardsley, Promotional Artist/Program Designer Heidi Dugan, and Promotional Photographer Chrissie Capece–to give each production a unique face and make each performance an intimate experience.  Simply put, there’s noone doing theatre quite like For The Whim is, and that’s an accomplishment that deserves to be supported.  Sense and Sensibility runs through May 17th; if you want to appreciate the joys of springtime and all that comes with it (especially if you need a good laugh), you owe it to yourself to pay the Dashwoods a visit. You can purchase tickets here: https://www.eventbrite.com/e/ftw-presents-sense-sensibility-tickets-1273757616319?aff=oddtdtcreator